"This whole project grew out of a song called 'Cycles Of You', which I had written around 2000-2001 with the guitarist and bassist of my band at the time, Easy. The chord progression and vocal melody really reminded me of Joe Bataan, and it occurred to me that it wouldn't be impossible to get him into the studio to do a guest vocal if we ever recorded it. I had met Bataan a few years before at Nuyorican Poets Cafe in my neighborhood. Around this time Bataan was playing out again, so I went to the show to see him and find out if he'd be interested in doing some vocals with us. He was agreeable, so we decided to turn it into a Joe Bataan session and do 'Cycles Of You'. When I got the opportunity from Vampisoul to do a full album, I was hoping Bataan and I could write some songs together, but our schedules proved tough to coordinate. I figured the best way to go about it was to do most of the work and just have him come sing on it. The rhythm section was a band called TransLove Airways that I formed in 2002. To this core group I added pieces from a few other local bands: The Middle Initials, who are a great Temptations/Main Ingredient-style vocal group, and members of an incredible Latin band called Grupo Latin Vibe, who were responsible for almost all the percussion and the vibraphone solo on 'I'm The Fool Pt. 2'. There was also some fine trombone playing by Aaron Johnson of Antibalas and great flute work by Neal Sugarman and my cousin Sonny. Preparing for Call My Name, I listened to a lot of different records from the mid to late '70s. It has now been over ten years since the completion of this record, and so much has changed. The Call My Name sessions took place when Daptone had just moved to Bushwick, its now-famous current location. Gabe Roth was my first call whenever I had any recording to do. He was yet to become the legendary figure at the center of the Daptone/Truth & Soul universe. He was just a humble guy with an incredible talent and an impeccable ear who made authentic sounding records with inexpensive analog gear." -- Daniel Collás, producer of Call My Name

"Joe Bataan's 1968 album Riot! blends Latin rhythms, '60s soul, and jazz into instrumental funk and mellow ballads. A deep and heavy-hitting record that sees Bataan working in top form with a large and talented band."

Repro of Joe Bataan's 1971 LP for Fania. "Tracks like 'Muneca' and 'Mambo de Bataan' fall within the canon but their energy (check the former's rat-a-tat-tat bridge) and blowsy trombones add an extra kick, just as the ragged loose ends in the vocals don't detract from the locked-down-in-clave-city pocket of 'Aguanta La Lengua.' 'Magic Rose' has a brassy trombone solo over a strong piano hook that's off-kilter from the Latin norm, but totally killer at hip level, while 'Chili Beans' is just a fine example of a lean, clean Latin soul instrumental.... a lot of strong performances that illuminate the late-'60s Latin soul era." --All Music

Exact repro of this 1968 release from King Of Latin Soul, Joe Bataan. Some of his best moments of the time, including the classic jazz of "Chickie's Trombone" and the upbeat "Gypsy Woman" and "Too Much Lovin'."

This unique candid documentary has Mr. Joe Bataan himself telling all first hand on his life and musical story. It is the first time he's done this and it feels like an honor. You listen to his golden voice while he shows you his city, and describes his life: From the early '50s as a teenage rumbler all the way through his acclaimed twenty-first-century comback. In between: Latino soul brother numbero uno of the '60s, boogaloo madness, the Fania years. Also includes 40 minutes from the SOB show, "Rap-O-Clap-O" and some other surprises. Total running time: 174 minutes. Format: DVD 9 multiregion.

2005 release. It's a great day at El Barrio: Joe Bataan is back. The sun is melting the sidewalks, the fire hydrants are color fountains, surrounding where the kids dance and enjoy themselves. It's a holiday because East Harlem's best known 'afrofilipino' is back. The local radio DJs are playing Joe Cuba, Johnny Colon, Cheo Feliciano, Hector Lavoe... Rhumba fills the streets, playing with the airwaves. 110th street is a celebration. The creator of Latin soul has not only lost nothing of his essence, but he has multiplied his energy to show who was the first one to join the Latin essence with the black feeling. Recovering the mestizo feeling, electric and proud. As the saying goes, whoever hits first hits twice, and there's no rival for Bataan. Repeat his name, loud and clear. Because the songs of Call My Name are the echo of the neighborhood, songs that could both have been recorded 30 years ago as much as they could be the introduction for the next name from Spanish Harlem worthy of attention. Timeless, classic and as genuine as the names who figure in the album. The saviours of rythm are in the city and an infectious concoction fills the streets. The funk pulsation with the soul feeling, no compromises, right into the guts. The songs written by Daniel Collás are stones proudly and firmly thrown into the mind. Each and every song in this album is a ray of light that melts the cold asphalt and shakes the knees of the inhabitants walking above it.